Robert
 

Hi all. This is Robert. He's a counselor for middle school troubled kids, is currently setting up an anti-racist society, works as a clown at kids parties in his spare time, and works on many local programs for abused and neglected teens. This is the only photo I got of him that wasn't blurred because of his constant moving. The lighting caught all the skin tones, blues, violet, reds and gold. But I'm concerned about the forshortening and distortion. Please comment.

Jean

Rethink
 

Jean, what a handsome, dynamic subject, however I see real problems with your reference.

A. If you squint you will see that the major focus of this picture is his light shirt.

B. He has very dark skin and much of what you have photographed has him in shadow. This does not allow you to use any of the middle tones which would help with the values in your composition and his form.

C. Such a dynamic personage needs to be looking directly at the viewer, this would increase the power of the portrait. Also there would be some lights in his eyes to reference the light shirt.

D. There has to be more consideration of the design of the portrait. He is slumped and the picture behind him is not artfully placed.

E. Consider some more interesting motif or shape behind him that would give a clue to his nature or leave it out entirely.

F. Velasquez did a beautiful portrait of a black man, it has a wonderful variety of skintones not available to you in your photo.

G. You have a wonderful subject and opportunity to a wonderful painting, see if you can get him to sit again.

H. Check out some of the tips posted on this Forum that will help you with the skills to be able to photo this subject.

I. My suggestion for starters, is to have him face the light instead of away from him. Use a silver reflector to lighten up the shadow areas.

Sincerely,

Jean,

I'm sorry, but I just love these little puzzles. I was able to lighten up your image quite a bit. I think losing the dark picture behind the head will improve the composition also. I might also play around with a different tone for the sofa and the background.

Sorry I forgot to post the image.

Robert
 

I believe that this man deserves the best I can give him, so I'll drag him kicking and screaming for another shoot. Mike, your version is much improved, but I still just see the white shirt. And I agree, Sharon, he is an "in your face" type of guy. Thanks for the input, and I'll look up the Velasquez portrait.

Jean

David A. Leffel
 

Jean, I think you ought to look at a book called "Oil Painting Secrets of a Master", by Linda Cateura. www.amazon.com has it for about $17.95. It is about David A. Leffel. There is a wonderful contemporary painting of a black man and I think some explanation of the skintones. I have a copy somewhere, but as yet I haven't located it. Also check out Simmie Knox's site here on SOG. He is a wonderful black painter who paints a whole range of skintones. www.portraitartist.com/knox

It would be well worth your while to look at Leffel's painting as it shows a beautiful range of unexpected color in the man's face. I think this would give you a great starting point.

Since you know the man, plan a little before hand. Check your lighting in various possible photo areas before you proceed. Gather a few props if necessary. Go through the photos you have beforehand to find his best angle. Get his height and look through your lens at standins to minimize his time.

Try not to shoot him from above, the lower the camera is when you shoot him the more heroic he will look. If he has a full chin you will have to compromise a bit as a too low angle will accentuate a full chinline.

Finally tell him how much he means to his community and how it would be a great honor for you to be able to do your best. This portrait will remind future generations of just what one dedicated, selfless man can accomplish.

Sincerely

Sharon
 

How can I thank you for the help on this one! I checked out the book and will pick it up as soon as I can. Also went to Simmie Knox's site, what incredible work. I wish I could zoom in on the faces.

I'm sure Robert will go along with this. I bake bread for them occasionally, so I'll just bribe him. In the meantime, if I send you some bread will you continue to advise? I make a killer whole grain with nuts and cranberries.

Jean

Jean,

I'm working on a revamp of Simmie's web site and when finished, it will include facial closeups. It will probably be a couple of weeks.

In fact, here's a closeup of one of the new portraits that will be going up on Simmie's site.

I see all the colors
 

Thanks Cynthia, Simmie does a beautiful job with the skin tones. I can see the violet, blues, and reds quite well. I appreciate your posting the image up close and personal. ;)

Jean

You're on!
 

Jean, I love good homemade bread, but be forewarned I am a tough critic!

Sincerely

Sharon
 

You'll have no complaints on the bread. The artwork? Well that's another matter!

Jean

Portra
 

Jean, I have had very good luck with the film Portra 160 NC by Kodak.

Sincerely

Portra film
 

Hi Sharon, thanks for the suggestion. I've read about this film on other threads, possibly from you? I have a digital camera that I'm learning how to use. It's a Canon powershot a20. I finally learned how to turn the flash off, and have been quite pleased with the images. The main problem I had the day I photographed, was that I was trying to combine two things at the same time. We were just sitting and visiting when I decided it would be a good time to photograph him. I grabbed the camera and shot while he and my husband talked. No planning, no lighting consideration, just gabbing, and hoping I might get something usable.

I also have an old Pentax spotmatic 35mm. It takes beautiful photos but I don't know how to use it and don't have an instruction book. My first husband got the KitchenAid and cookbooks and I got his camera and the kids! :o When I get the extra time I'll see what I can find on internet for instuctions on this camera. It's worth learning how to use.

Now, how to get the bread to you, dry ice maybe! ;)

Jean

Large prints
 

Jean, I use only regular film as I can get large blowups, 30"x 40" or bigger. I use these to work from. I put them side by side of my easel, this way I can easily see my errors. You cannot blow up digital prints as yet that big, (unless you have a $20,000 camera ) without loosing sharpness, color density and getting a lot of graininess. A relatively slow film like Portra will give you great blowups.

If you post large prints next to your easel you can get back farther, this keeps your work looser. Also, you can compare your work to the print more easily. You can also look at both your work and the print in a mirror. That is a good technique to reveal errors.

Try getting a stand-in as close to Robert's skintone to pose where you want to photograph him and take a few test shots. Record your exposures.

Hi Sharon
 

One of my past jobs was as a mechanical draftsman in an HVAC company. I drew and designed ductwork, boiler piping and refrigeration systems. In doing this I learned how to draw to scale. Now, I use this skill to set up ratios as my method of measuring. I can get an extremely close enlarged copy simply by using geometry and ratios. Of course this does not help with color, and probably explains some of the stilted look of my work. This is why I'm trying to develop my "eye", and draw more from life.

I have to loosen up, as you said. I will try having Robert blown up as you suggested. I think he'll have some fun with that terminology! Oh, I'll try the mirror too.

Jean

Lens
 

Jean, some more photo info. Use an 80mm lens or bigger for head and shoulder portraits, below the waist you can get by with a 50mm. However I like to use the longest focal length I can get away with, even for full lengths, as it reduces distortion.

Sincerely,

Hi Sharon
 

Well, all planning is in the works. We've chosen a location, simple, nothing in the background. Nice north light, a mirror, reflector made with aluminum foil. Robert's checking his wardrobe and won't wear white or light pinstripes. If he picks out one of his clown costumes I'll crack up. I'm going to try to borrow an 80mm lens from a friend of mine, she can also do a blow-up for me. So, I'm good to go. Now all I need to do is wait for Robert to come and grab me. I'll post when I've got pictures, if you think of anything else feel free to post! (and thanks)

Jean